The Play of Shadows in Japanese Cinema
Bibliographic Data
| ID | 5083288 |
|---|---|
| Authors | Francisca Cho (Georgetown University, corresponding author) |
| Year | 2015 |
| Volume | 11 |
| Issue | 4 |
| Pages | 507-525 |
| Publication date | 2015-10-02 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Material Religion (JOURNAL) |
| Journal identifiers | ISSN: 1743-2200 • E-ISSN: 1751-8342 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/17432200.2015.1103480 |
| OpenAlex | W2312624862 |
| Language | EN |
| Citations received | 1 |
| References cited | 11 |
The medieval Japanese Buddhist-inspired aesthetic concept of yūgen emphasizes the absence of light, movement, and form in order to create a sense of deep but non-discursive meaning. This pre-modern concept can be applied to the film Rashomon to appreciate how the movie uses light and shadow to point to the necessity of abandoning intellectual knowledge in order to move towards moral action. The yūgen concept is also instantiated in the way the film Maborosi uses shadows to create stunning images that form an alternative perception of the world beyond conventional human concerns
Aesthetics · Art · Buddhism · Epistemology · Literature · Movie theater · Perception · Psychoanalysis · Sociology · Visual arts · Chinese history and philosophy · History · Hong Kong and Taiwan Politics · Japanese History and Culture · Philosophy · Psychology
| Citations per year | 0.13 |
|---|---|
| Citation span | 2018 - 2018 (1) |
| Highly cited | No |